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gentleoverdrive · 1 year

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[23/300] I'll cut your armies down...

When do you honestly stop trusting the process? like I'm legit curious. Is the process something that needs to be torn down and rebuilt? Why do people often say "trust the process"? ---- Part of me wishes to dismiss said process altogether, but I feel as though doing this might make me fall into the category of a creative dictator, not unlike what some other creative tyrants, under the guise of "auteurism", have done. And I don't fucking want that. ---- I don't want complete control. I just want one of the bands in which I play to, perhaps, be more open about the ideas being brought to the table and maybe we can try doing something with them. Like sure, we're a metal band, but I feel like there's value in exploring non-metal elements to do as best as we can by the band, y'know? ---- They say "this ain't rocket science"... and yet, sometimes? I kinda fucking wish it was more like that, because I'm tired of not getting new stuff pieced together. But let's see what comes out of this. Read ya' later, alligator!

#diary #daily life of an old shithead #deftones reference #deftones #ngl I've been kinda soured on deftones for a little bit #but I still like the music. especially this closing track in particular #Saturday Night Wrist is a controversial album within the Deftones fandom but I still legitimately think it's still pretty good #It's also the record where all the experiments and genre shifts they've been doing since White Pony actually start to gel together #so even if the record was a nightmarish recording process that almost destroyed them... the music still rocks!#life as a musician #life as a professional musician #songwriting #the push and pull of the democratic process within a band #very unromantic #growing pains #idk

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happymetalgirl · 6 years

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Khemmis - Desolation

Khemmis have been quickly making waves within the doom metal sphere, and for good reason. Though their self-titled debut EP in 2013 fell more along common doom metal lines, it was still a prototypic effort for the band, who very soon after honed their sound toward the more emotive side of doom with their first full-length in 2015, Absolution. It was the next year, however, that saw them really take the genre by storm with their sophomore release, Hunted, a truly genre-defining album that took the modern doom stylings of Pallbearer and occasionally the sludge of bands like Baroness and turned the sobbing sorrow and potent remorse up to eleven. Hunted was an unprecedented and powerful statement from the young band, delivering a masterclass on all things doom and sludge, with an emphasis on beautiful melodies, especially in the guitar department. Not to take away from the strength of the album's melancholic, yet impassioned vocal melodies and Phil Pendergast's thoughtfully sung performances. Hunted was one of my favorite albums of 2016 and it's one of my favorite albums in the merged vein of doom and sludge, period. Needless to say, with two stellar albums in the genre that could immediately rival classics from older bands and acclaimed albums from publication favorites like Mastodon and Electric Wizard, Khemmis are one of metal's most exciting new faces and a much-needed kick to the doom subgenre's ass. And I'm also happy that, in general, the band doesn't constantly beat me over the head with a fawning obsession with Black Sabbath like so many other doom bands do so often.

It's not that Khemmis approach the sound with more metallic oomph than their contemporaries or any wild twist on the sound's traditions; their sound isn't particularly more or less heavy than the likes of Pallbearer or Mournful Congregation. But where Khemmis excell is conscious, meticulous songwriting, and their consistent display of their compositional chops across Hunted is what made it such a compelling listen. The question that has loomed for the past almost-two-years since (not that long really) has been I'd they could do it a third time, on Desolation.

And Goddamn, do they! I can't say I'm surprised. In a year that has seen Germany, Spain, Argentina, Portugal, and Poland all crash out of the World Cup in humiliating fashion, I'm glad to have something so highly anticipated to deliver actually do so in the music sphere. Not only am I so thrilled to hear them deliver, I'm happy they were able to capture the same brilliance and doomy catharsis without simply rehashing what Hunted did. Though they've done a few things similarly, Khemmis introduce a few noticeably new elements to their sound, which sprawls from doom's most primitive forms to the most pummeling crush and howl of sludge metal's blackened variations, one more prominent feature namely being a distinctly more grunge-esque vocal harmony technique that reminds me of Alice in Chains in so many places. It's not littered everywhere in a distracting way that might point to cheap imitation, but the band pull off sorrowful harmonies with the same prowess as Stayley and Cantrell.

The band makes a greater use of the dynamic between their more classically-oriented side and their sludgier, heavier side (which shows up less) than on Hunted, but makes itself known arguably more dramatically.

With just six songs spanning a succint 41 minutes with enough to separate them each stylistically, it's an easily digestible body of work and one that keeps you on your toes. The album opens with the classically crunchy yet inventively sorrowful "Bloodletting", which is drenched in sweet, sorrowful guitar lines and harmonies and painful vocal melodies with beautifully sung lyrics like, "take my hand and twist the knife, we're depraved and reviled, welcoming eternal night". It's a fantastic track full of visceral self-reflection and finality, and even a climactically heavy section near its end and vicious black metal vocals to close out the monstrously cathartic introduction to the album.

The second song, "Isolation", is shortest track the band have ever released and one that leans hard on the mournful vocal harmony throughout, delivering such heart-wrenching lines as "How could I pray for salvation, when I'm the only mourner left to grieve" and with such conviction. It feels weird to compare Khemmis to alternative metal heavyweights like Breaking Benjamin in these moments, but they really do capture that same raw, emotional catharsis that so many of those groups try to (which so few succeed at). It feels like a blend between Pallbearer at their most emotive and classic Maiden at their most soulful.

The third track, "Flesh to Nothing" sounds like something that could have fit in with Hunted with the heavy use of the sludgy guitars throughout the track. This is where the Alice in Chains-esque vocal harmonies show up a few times in their most clear forms. It's a more stoic track than the previous two with Ben Hutcherson this time (I think) using his lower register in a more somber tone, reserving the song's high vocal notes and black metal growls for the end, but it's a good moment for the band to play to this more reserved type of grief and demonstrate their emotional and musical versatility.

The second side of the album starts off with "The Seer", a six-minute cut riding low-tuned guitars and fittingly ominous vocal melodies that warn of unseen danger through mysterious fog. It's probably one of the most emotionally out of place tracks on the album, playing on fear and tension more than tangible, vivid sadness, but it's not a poor addition by any means, and perhaps at this point on the record, a break from the inward-directed sorrow that precedes this track is a good thing.

"Maw of Time" is a rather unique track as well for its being so heavily black metal inspired. It finds the band blending their pensive doom and gorgeous vocal harmonies with more overtly blackened death metal growls. The band does it so smoothly it doesn't feel like either polar opposite undoes the work of the other; rather the two styles are woven together to strengthen the song's duality of mood. It's a compositionally interesting piece too, as a false ending brings on a slow, thick, darkened dirge with all façades of emotional composure forgone as booming drum crashes signal the loss of control amid guitar wails reminiscent of those on the title track of Leviathan's depressive black metal masterpiece, Scar Sighted. Yeah I very much dig that part.

"From Ruin" wraps up the album on a note of powerful solidarity in the face of all the grief preceding it on the album with the triumphant declaration "No one could help me find the way, but in the new spring dawn, I've found the strength to carry on" at the end. Despite being the longest track on the album, it doesn't bring much new musically to tracklist, but the lyrical shift it provides is an important one, and its use of the band's classic metal-esque doom/sludge to now deliver a triumph of emotional fortitude in just as captivating and cathartic of a fashion does add to the album's experience and the overall emotional arch the album creates from beginning to end.

I certianly went into this album with high expectations, but I was still prepared for the probability of it being overshadowed by the incredible composition of Hunted. Desolation, however, doesn't try so hard to outdo Hunted at its own game, rather it expands even more on what Hunted could have done and makes a wholly unique experience through the variety of focuses it takes. I really like the trajectory the songs on this album take, from raw and gripping sorrow, to more composed grief, to uneasy fears of the unknown, to the uninhibited breakdown of mourning that gives way to closure and the ability to come to terms with moving on bearing the knowledge of the ever-present burden of that grief. It's actually not all too different from the journey of strong feelings Hunted takes, but I would say that Desolation's emotional highs and lows are more dramatic thanks to the distillation and concentration of various aspects of the band's sound from song to song. The answer to whether or not it lives up to Hunted is undoubtedly yes. As for if it's the better album, I imagine it'll take most fans of the band, myself included, a while to decide. Three albums in though, Khemmis is on a great run and in only three years since Absolution they have made a tremendous claim for the doom metal throne. It's already been such a pleasure seeing their meteoric rise as early in their career as this, and I'm excited for what the future holds for Khemmis.

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